Résumé : Renée Levi is one of Switzerland’s most prominent contemporary artists working with painting and installation. Since the late 1990s she has examined the limits of painting, expanding her explorations in three-dimensional installations and interventions. This leads to surprising dialogues between architecture and her artwork in these three-dimensional works. Form and color take on immense dimensions, without losing any of their fragility. Besides essays on Levi’s oeuvre, this publication offers a comprehensive survey of her multi-layered work from the past decade, while also documenting the new works in Baden and Geneva.Renée Levi (* 1960 in Istanbul, lives in Basel) studied architecture and fine art in Basel and Zurich. She has been a professor of painting at the Hochschule für Gestaltung und Kunst in Basel since 2001. Her works have been exhibited around the globe for more than twenty years. In 2018 the artist was awarded the Société des Arts de Genève prize for art.

Résumé : Ashley Hans Scheirl overcomes the limitations of media as easily as she deals with gender and cultural norms. Born Angela Scheirl, the artist achieved international fame in the late 1980s for her experimental films and videos. She is now considered a trailblazer and a cult figure of the international queer and transgender artists scene. Scheirl's work examines questions about her own identity by surmounting predefined genres and classifications. Her three-dimensional installations unite paintings, spatial designs, videos, photographs, drawings, sculptures, and performance props. The artist is interested in questioning the economy and power of social conditions and the libidinal structures active in them. Ashley Hans Scheirl (*1956, Salzburg, lives in Vienna) studied restoration at the Akademie der Bildenden Künste (Academy of Fine Arts) in Vienna. She spent 1981-82 in New York, and then sixteen years in London. In 2003 she finished her post-graduate studies in fine arts at the Central Saint Martin's College of Art & Design in London. Since the fall of 2006 she has been a professor for contextual painting at the Akademie der Bildenden Künste, Vienna

Résumé : When the Pre-Raphaelite Brotherhood (the 'PRB') exhibited their first works in 1849 it heralded a revolution in British art. Styling themselves the "Young Painters of England", this group of young men aimed to overturn stale Victorian artistic conventions and challenge the previous generation with their startling colours and compositions. Think of the images created by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti and others in their circle, however, and it is not men but pale-faced young women with lustrous, tumbling locks that spring to mind, gazing soulfully from the picture frame or in dramatic scenes painted in glowing colours. Who were these women ? What is known of their lives and their roles in a movement that, in successive phases, spanned over half a century ? Some were models, plucked from obscurity to pose for figures in Pre-Raphaelite paintings, whileothers were sisters, wives, daughters and friends of the artists. Several were artists themselves, with aspirations to match those of the men, sharing the same artistic and social networks yet condemned by their gender to occupy a separate sphere. Others inhabited and sustained a male-dominated art world as partners in production, maintaining households and studios and socialising with patrons. Some were skilled in the arts of interior decoration, dressmaking, embroidery, jewellery-making -the fine crafts that formed a supportive tier for the "higher" arts of painting and sculpture. And although their backgrounds and life-experiences certainly varied widely, all were engaged in creating Pre-Raphaelite art.. Lorsque la Confrérie préraphaélite (la «PRB») expose ses premières œuvres en 1849, elle annonce une révolution dans l'art britannique. Se présentant comme les "jeunes peintres d'Angleterre", ce groupe de jeunes hommes avait pour objectif de renverser les anciennes conventions artistiques victoriennes et de défier la génération précédente avec leurs couleurs et leurs compositions surprenantes. Pensez aux images créées par William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti et d’autres dans leur entourage. Ce ne sont pas des hommes mais des jeunes femmes au visage pâle, aux boucles lustrées et tumultueuses, qui viennent à l’esprit, regardant avec émotion sur des photographies ou dans des scènes dramatiques peintes dans des couleurs éclatantes. Qui étaient ces femmes ? Que sait-on de leurs vies et de leurs rôles dans un mouvement qui, par phases successives, a duré plus d’un demi-siècle ? Certaines étaient des modèles, arrachés à l'obscurité pour poser comme personnages dans les peintures préraphaélites, tandis que d'autres étaient des soeurs, des épouses, des filles et des amis des artistes. Plusieurs étaient elles-mêmes des artistes, aspirant à l'égalité avec les hommes, partageant les mêmes réseaux artistiques et sociaux mais pourtant condamnés par leur sexe à occuper une sphère à part. D'autres ont cohabité et soutenu le monde de l'art dominé par les hommes en tant que partenaires dans la production, l'entretien des foyers et des ateliers et la relation avec les mécènes. Certaines étaient expertes dans la décoration d'intérieur, dans la couture, dans la broderie, dans la bijouterie - les métiers d'art qui constituaient un niveau de soutien pour les arts "supérieurs" de la peinture et de la sculpture. Et bien que leurs origines et leurs expériences de vie aient certes beaucoup varié, toutes étaient engagées dans la création d’art préraphaélite.